Bafici 2025: Laura Casabe’s Sundance Hit ‘The Virgin Of The Quarry Lake’ Takes Top Honors as Bafici Wraps 26th Edition

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In Buenos Aires, Argentina – amidst a wave of protests by pensioners and a transportation strike that disrupted a day’s services, the 26th edition of the Buenos Aires International Independent Film Festival (Bafici) concluded successfully on April 13, following 13 days filled with a variety of screenings and industry debates. This event once again delivered an exciting, dynamic spectacle for film enthusiasts.

A ceremony for awards took place at La Boca’s Usina del Arte on Saturday night, marking the end of a lively event. The winning pieces were Laura Casabe’s “The Virgin of the Quarry Lake,” Juanjo Pereira’s “Under the Flags, the Sun,” and Tomás Terzano’s newest short film “The Banner.” These works received the highest praises.

A carefully selected film festival attracted a large number of movie enthusiasts to six theaters, both art house and mainstream, located within the city’s theater district, Teatro San Martin, serving as the central hub for the event. Meanwhile, the Cinema Museum, situated south of the center, hosted additional screenings and events concurrently. A total of 298 films from 44 different countries were available this year, with 116 of those titles being Argentine productions.

This year, we surpassed 100,000 visitors. Bafici has solidified its status as one of the city’s primary cultural hubs, with accessibility and high-quality events remaining key to its continued success. According to Javier Porta Fouz, artistic director of Bafici, he shared this insight with EbMaster.

Initially, I had concerns that this year’s festival might not make the same mark as previous ones. However, it turned out differently – the public and the Argentine film community rallied behind us. We are thrilled! As Jean Cocteau put it, ‘culture often thrives in challenging times.’

Buenos Aires has never considered abandoning support for the arts. Instead, they’re striving to enhance their film industry in the wake of other cities reducing arts funding. The city isn’t just aiming to attract renowned artists but also ensuring the festival is affordable, with tickets priced significantly lower than a typical popcorn and soda combo at the concession stand.

Porta Fouz noted that it’s a significant milestone and demonstration of cultural democracy to make our festival open for everyone. This goal is attained by working together effectively with both public and private sectors. While some funds come from the Buenos Aires City Government, we also receive substantial support from businesses, institutions, and embassies.

Over time, the festival has evolved with different transformations yet retained its essence, all while increasing its status. This evolution has sparked curiosity among private investors who are eager to participate in the event and aid in its prosperity. Not only does this backing cover the festival’s expenses, but it also encourages a wider range of activities and offerings, enhancing the overall experience for guests.

Bafici effectively achieved his goal of presenting films that kept viewers engaged, offering a diverse array of titles. These ranged from the intensely artistic, as seen in Alexandre Rockwell’s surprising buddy film “Lump” and Ion de Sosa’s thought-provoking “Mamántula,” which was nominated for a Goya and made waves at the Berlinale, to the avant-garde with Khavn’s “Bomba Bernal” and “The Suit” by Heinz Emigholz.

The stories explored mortality in various ways, such as Manuela Irene’s nostalgic piece “The Monster of Xibalba,” Karni Haneman’s humorous road trip tale “Tom’s 2nd Suicide,” Radu Jude’s harsh critique of societal decay in “Kontinental 25,” Julie Delpy’s moving refugee comedy “Les Barbares,” and Yashira Jordan’s (“Diamond”) latest short fantasy film “Dragón.” The latter, screened to a packed crowd, provided a richly layered cinematic perspective of everyday Bolivia, serving as the setting for a story about vigilante justice and teenage distractions.

A selection of British documentaries focusing on the lives and eras of rebellious musicians, such as “Polystyrene: I Am A Cliche” and “The Slits: Here to be Heard,” were shown alongside films that delve into identity, like Javier Van de Couter’s adaptation of Camila Sosa Villada’s novel “Thesis on a Domestication.” This film received a special mention and is produced by Gael Garcia Bernal and Diego Luna’s La Corriente del Golfo.

A less formal version could be: “The movie titled ‘Heads or Tails’ is a wild Belgian comedy created by Lenny and Harpo Guit (known as ‘Aimer perdre’). In this film, Maria Cavalier-Bazan, who started her career in theater before transitioning to films, won the best international performance award for her portrayal of Armande Pigeon, a character who is bold, vulgar, and incredibly captivating.

Federico Sanchez, who has been attending the festival since it began, expressed his excitement about each new installment of the event. He always finds something fresh and exciting – whether it’s a relatively unknown director whose work he’s experiencing for the first time, or a debutante presenting their initial project, or even an established filmmaker whose films have never been screened in Buenos Aires before.

Year after year, the same situation recurs. Despite the vast number of movies our catalog offers annually, each new release leaves its unique imprint. This pattern occurs so consistently that it seems more than just coincidence that I select films that meet this specific goal. In doing so, I acknowledge its essence: a reoccurring discovery, a refreshed understanding, a revisit to the unfamiliar,” he explained.

The unique quality of Buenos Aires – where each iteration is distinct yet carries forward elements from its predecessors – is its blending of cultures, as evidenced by the annual influx of thousands from around the globe who celebrate independent cinema. Here’s to hoping this festival continues to thrive in this city.

Among the standout films at the festival were premieres from Casabe, Van de Couter, and Lucía Seles from Argentina. These screenings quickly sold out, with eager fans trying to get tickets through social media, showing up at the venue hoping for a chance to see the film, and even trying to find a spot in the aisles. The short film programs were particularly popular, and many of them received praise. “The Banner,” directed by Tomás Terzano and starring Marcelo Subiotto as “Puan,” offers a confusing and fragmented account of a day’s events and was awarded both best short film and best director in the Argentine competition.

Argentine movies frequently draw large crowds to Bafici, with all three showings often selling out – some rapidly, just like ‘The Virgin of the Quarry Lake’ and ‘Thesis on a Domestication.’ It’s worth noting that many of these films don’t attract as many spectators when they’re first released. One might argue that this is because Bafici hosts premieres, and people connected to the film attend. However, there’s more to it than that; a film festival like Bafici provides opportunities for discussions, serving as a gathering place, and I believe this contributes to the high number of people who watch Argentine films, according to Porta Fouz.

Argentine cinema is underutilized and deserves more screen time in movie theaters. Despite the growing number of ways to watch movies, it’s essential to see Argentine films on the big screen. The need for better policies regarding distribution and exhibition has long been discussed, with France serving as a model. In 2021, France held a 44% market share for its own cinema, which underscores the potential success of Argentine cinema with proper support.

Among the joyful tumult, international professionals were heard expressing their admiration for the city. Toronto’s creative figure, Sook-Yin Lee (“Shortbus”), who is a member of the Avant-Garde and Genre jury, was spotted wearing an oversized shirt of Argentina’s beloved character Mafalda. She lauded the city’s artistic community before a packed screening of her recent film “Paying For It.” This movie, based on Chester Brown’s graphic novel, boldly portrays the stigmas surrounding sex work and the pitfalls of contemporary romance.

International professionals were overheard praising the city in the midst of a joyful uproar. Sook-Yin Lee, a creative figure from Toronto who is part of the Avant-Garde and Genre jury, wore an oversized Mafalda shirt during this time. She praised the arts scene in the city before a full house at the screening of her latest film “Paying For It.” This film, which is based on Chester Brown’s graphic novel, portrays the taboos around sex work and the challenges of modern romance.)

Artist Amalia Ulman felt both emotional during screenings and welcomed back home, as she introduced the wacky “Magic Farm” comedy starring Chloë Sevigny to a packed house. This film, initially premiered at Sundance, was attended by family members and town residents where it was filmed, who enthusiastically declared their admiration for the artist following a series of questions from curious audience members. It’s worth mentioning that some local amateurs were cast in this project.

This year, screenwriter-director Bebe Kamin (“The Children of the War”) and producer Lita Stantic, known for their work with Lucrecia Martel’s “La Ciénaga,” were honored with Lifetime Achievement Awards. Their years of tenacity and wisdom serve as a beacon for creatives navigating the tumultuous shifts in the audiovisual industry.

In this current era in Argentina, behaviors such as suppression, hostility, disrespect, and mistreatment have deeply ingrained themselves within the system, according to Kamin. Those who manage film policy in Argentina – the officials and executives – are not truly cinema enthusiasts. They’ve shown a dismissive attitude, overlooked the film community as a whole, and made decisions that do not reflect the heart and passion of the filmmakers. In essence, they don’t understand our identity. We are technicians, scriptwriters, and many others who work to foster and preserve Argentina’s culture and identity through cinema. We deserve recognition. Cinema encapsulates history, people, and the emotions – both joyful and sorrowful – of this nation. It has been an integral part of our country’s culture for over a century. This is what Kamin shared.

Stantic echoed the same feelings, stating, “We need to stand our ground to ensure our cinematic art survives. For over five decades, I’ve been part of the film industry, and there have been numerous challenges – even enduring a dark dictatorship. Yet, we persevered. In truth, here’s to the longevity of Argentine cinema!

BAFICI PRIZES

INTERNATIONAL COMPETITION

Grand Prize

“Under the Flags, the Sun,” (Juanjo Pereira, Paraguay, Argentina, U.S., France, Germany)

Best Feature Film

“That Summer in Paris,” (Valentine Cadic, France)

Best Short Film

“My Mother is a Cow,” (Moara Passoni, Brazil)

Best Director 

Tomás Alzamora Muñoz (“Designation of Origin,”  Chile)

Special Jury Prize:

“A Day Cut Short,” (María Villar, Argentina)

Best Performance 

Maria Cavalier-Bazan (“Heads or Fails,” Belgium)

ARGENTINE COMPETITION

Grand Prize

“The Virgin of the Quarry Lake,” (Laura Casabé, Argentina, México, Spain)

Best Feature Film

“All the Strength,” (Luciana Piantanida, Argentina, Peru)

Best Short Film

“The Banner,” (Tomás Terzano, Argentina, Spain)

Best Director

Tomás Terzano (“The Banner, ”Argentina, Spain)

Special Jury Prize 

“The Bewilderment of Chile,” (Lucía Seles, Argentina**)

Best Performance

Andrea Carballo, César Troncoso (“The Woman of the River,” Néstor Mazzini, Argentina, Uruguay)

Special Mentions

“Thesis on a Domestication,” (Javier Van de Couter, Argentina, México)

“LS83,” (Herman Szwarcbart, Argentina, Germany)

“The Continuous Present,” (Ulises Rosell, Argentina)

AVANT-GARDE AND GENRE COMPETITION

Grand Prize 

“BLKNWS: Terms & Conditions,” (Khalil Joseph, U.S., Ghana)

Best Feature Film 

“Bomba Bernal,” (Khavn, Philippines)

Best Short Film 

“Crash-Huang xi hu xi,” (Dale Zhou & Hongxiang Zhou, U.S.)

Best Director

Marie Losier (“Barking in the Dark,” France)

Special Jury Prize

“Chronicles of the Absurd,” (Miguel Coyula, Cuba)

Best Performance

Verónica Intile (“I Laugh, Therefore I Am,” Tetsuo Lumiere, Argentina)

Special Mention 

“Turtle Chasing Turtle,” (Víctor González, Argentina)

ACROSS COMPETITIONS

Audience Award for Best Argentinian Feature Film

“The Continuous Present,” (Ulises Rosell, Argentina)

Buenos Aires City Grand Prize 

“LS83,” (Herman Szwarcbart, Argentina, Germany)

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2025-04-14 16:19